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Olivia Palermo's Fashion Week Style | Fall 2013
Style Profile: Olivia Palermo's Fall '13 Fashion Week Looks
by Mandi Villa
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Style Profile: Olivia Palermo's Fall '13 Fashion Week Looks
Whether she's sitting front row or chatting with designers backstage, Olivia Palermo has donned everything from mixed-print pairings to sleek suits and sophisticated outerwear, all finished with her signature eclectic polish — and a heavy dose of accessories. Per usual, she supplies a lesson on how to mix downtown and uptown style with ease just about everywhere she's been on her nearly monthlong Fashion Week tour through NYC, London, Milan, and now Paris. Click through for the latest styles from our Olivia Palermo lookbook: Fashion Week edition.
Read More Celebrity LookbookOlivia PalermoLondon Fashion WeekCelebrity StyleNew York Fashion WeekFashion Week
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March 18 2015 - Products
Goodyear Tire & Rubber
Goodyear has introduced the precure Fuel Max LHD G505D retread, which is designed to extend the life cycle of the Goodyear Fuel Max LHD G505D long haul tire.
Tags: SmartWay, Tires, Retreads, Goodyear Tire & Rubber
October 30 2014 - Products
Toyo Tires
Toyo Tire U.S.A. released the Toyo M650, a commercial drive tire that is SmartWay verified. The tire is designed for regional haul service and higher-torque operating conditions.
Tags: SmartWay, Toyo Tires, Tires, Low Rolling Resistance Tires
May 19 2014 - Products
BF Goodrich
A new drive tire from BFGoodrich, the DR454, is aimed at small to mid-sized fleets in the less-than-truckload, truckload and regional markets that want for a tire with premium performance attributes at a lower-than-premium price point.
Tags: Michelin Americas Truck Tires, BFGoodrich, Tires
March 26 2014 - Products
MATS, LOUISVILLE -- Continental has rounded out its next generation of long haul, low rolling resistance EcoPlus truck tires by adding a new steer and all-position tire. The Conti EcoPlus HS3 offers a 10% reduction in rolling resistance as well as a 125 increase in mileage over the previous generation long haul steer tire.
Tags: Continental Tires, Tires, Mid-America Trucking Show, Tires and Wheels
March 24 2014 - Products
Hankook Tire
Hankook Tire will launch its new Smart Flex DL12 Long/Regional Haul Drive position truck and bus radial tire for fleet customers at the Mid-America Trucking Show this week.
Tags: Hankook Tire America Corp., Tires, Mid-America Trucking Show, Tires and Wheels
February 7 2014 - Products
Continental has announced that the Conti EcoPlus HT3 is set to launch this month in the North American markets. This new tire for the trailing axle from Continental Tire the Americas has been developed for maximum cost effectiveness, incorporating greater fuel efficiency, long service life and retreadability.
Tags: Continental, Tires
December 15 2013 - Products
Alliance Tire Group
The Aeolus HN277 Ultra line-haul steer tire has received SmartWay verification from the U.S. Environmental Protection Agency, meaning that the fuel saving benefits of this type of tire have been verified by the EPA's SmartWay program.
Tags: EPA SmartWay, Tires, ATG, Wheels
August 28 2013 - Products
Oliver Rubber
Oliver Rubber launched the Vantage Max Drive, an EPA Smartway verified drive position retread for line-haul applications. This new retread is designed for single and tandem axle tractors.
Tags: EPA SmartWay, Tires, Retreads, Oliver Rubber
August 21 2013 - Products
Double Coin
Double Coin's RR680 tire has met the requirements for the U.S. Environmental Protection Agency's SmartWay Technology Program.
Tags: Double Coin, Tires
April 23 2013 - Products
Goodyear Tire & Rubber Co.
Goodyear's G399A LHS Fuel Max, the G572A LHD Fuel Max, and the G392A SSD with DuraSeal + Fuel Max wide-base tire have been improved to help deliver reduced rolling resistance for better fuel efficiency, as well as long miles to removal.
Tags: Tires, MPG, Goodyear

subset: commoncrawl


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Related Sections: | Indianapolis | Marion County |
Hamilton County |
Hillcrest Country Club
6098 Fall Creek RdIndianapolis, IN 46220
Phone: (317)251-8653Fax: (317)251-1427
This flat course has water hazards that come into play on a few holes, and large trees that can alter your shots. The signature hole is #12, a 158-yard, par 3, requiring a long tee shot over water. Gary Kern redesigned the course in the 1980s. Tee times are reserved for weekends on the Monday prior to the upcoming weekend.
Holes: 18 | Greens: Bent Grass | Fairways: Bent Grass |
Greens Fees: | $50-$79 |
Course Type: | private |
Dress Code: | No denim, collared shirt and bermuda shorts required |
Season: | Open all year |
Guest Policy: | Reciprocal |
* Update this Course: Update/modify the details for this golf course's listing.
*All Greens Fees provided are subject to change. Please call the golf course to confirm the current fees.


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Occidental College
ITS provides productivity software and remote computing options for your Oxy and personal machines as well as access to academic software and creative software on our lab computers.
Productivity Software
We provide Microsoft Office software on all college computers (PC and Mac). You can convert Word documents to PDFs on your computer but if you wish to edit or work with PDFs you'll need to purchase Adobe Acrobat Pro or work at one of our Creative Stations.
Academic Software
The academic software on our lab computers can be accessed by going into the Start menu at the bottom left side of the page and then opening the All Programs list, where you will find sub-folders for specific disciplines; the software programs are listed within those folders. You'll find ArcGIS, Chemdraw, Mathematica, MATLAB, SPSS, and Stata as well as other course-specific applications.
Creative Software
The Creative Stations and oMac Lab have Adobe graphics and publication tools.
Software available for your personal computer
Sophos Anti-virus Software
Available for Students, Faculty and Staff for both Windows and Mac. Keep your computer safe from viruses and malware by downloading and installing the Windows version or the Mac version. Please note these are licensed only for personal computers; contact the Technology Helpdesk if you need assistance with Sophos software that is installed on an Oxy computer.
Microsoft Office
Available for Faculty and Staff. You may install one copy on one personal machine at home for the duration of your career at Oxy. Please email the Technology Helpdesk to let us know that you'd like to pick up a copy of the software so that we can provide you with the install disc.
Remote Computing
Available for Faculty and Staff. OxyAccess (provided through a software clled 2x) provides access to files stored on your G: and H: network drives. PC users can also be set up to access their office PC desktop from a personal machine (useful if departmental software is installed locally on your Oxy PC). Contact the Technology Helpdesk to be set up for access. View installation instructions.
FTPS connections
Available for Students, Faculty and Staff. You can use an FTP client that supports secure FTPS connections to access files stored on your Oxy network drives such as the G:, H: and S:/ drives. View set-up instructions.
Purchasing Software
If you would like to purchase software for yourself or your department, please contact the Technology Helpdesk with your request. We'll work with you to make sure the software will work in our network environment, review the licensing you need, obtain the quote and place the order. Note that we have a Volume License Agreement with Adobe that allows us to get the best possible pricing for Occidental College Adobe licenses. Pick a single product from their catalog or compare the Creative Suite options, let us know what you would like to purchase, and we'll take it from there.
- Location:
Academic Commons - Email: firstname.lastname@example.com
- Phone:
323-259-2880 - People:


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Rediscovering the Sovereignty of the People: The Case for Senate DistrictsTerry SmithFordham University School of Law North Carolina Law Review, Vol. 75, No. 1, 1996 Fordham Law Legal Studies Research Paper No. 1141364 Abstract: The creation and drawing of district voting lines in order to benefit racial minorities has spurred several recent Supreme Court decisions and generated mountains of commentary. This attention, however, has been directed at the drawing of district lines for the House of Representatives. In this unique and intriguing Article Professor Smith posits a different form of districting - United States Senate districting. Drawing from the history and text of the Seventeenth Amendment and the Elections Clause of Article I, Professor Smith argues that the creation of Senate districts is a permissible, though not required, activity. As Professor Smith points out, such a proposal would have benefits for both racial minorities and campaign finance reform. Anticipating objections to his proposal on Equal Protection grounds, Professor Smith concludes with a discussion of recent Supreme Court rulings and defends his proposal within this framework. For states such as California and New York, with divergent racial makeups and political ideologies rooted in geography, the implications of Professor Smith's Article are widespread and significant. Number of Pages in PDF File: 74 Date posted: June 17, 2008 ; Last revised: June 18, 2008Suggested CitationContact Information
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Providing a birth attendant is one of the most essential items to help the survival of women and babies during childbirth. Over 2 million babies die within the 24-hours of life. Many times, it is because the mother gave birth alone. When a skilled birth attendant is present at the birth, the numbers improve significantly.
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28th Annual Christmas in the Park
Twin Falls, Idaho (KMVT-TV) The 28th annual Christmas in the Park takes place this Saturday, December 16th.
The even begins at 5:00 PM at the Twin Falls City Park. Christmas in the Park is presented by the Kiwanis Club of Twin Falls. Coffee, hot chocolate and cookies provided by the Kiwanis Club. Donations will be split between the Salvation Army and the Kiwanis Eliminate Project. |
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The English landscape painter John Constable once wrote, "I should paint my own places best." This precept guided his career, as Constable developed a unique style combining objective studies of nature with a deeply personal vision of the countryside round his boyhood home. While most landscapists of the day traveled extensively in search of picturesque or sublime scenery, Constable never left England. His name is so closely associated with his native Stour Valley that the area is sometimes referred to as "Constable country."
The son of Golding Constable, a landowning farmer, miller, and corn merchant, Constable grew up along the Stour River in East Bergholt, Suffolk. Although his family hoped that he would join his father's business, they permitted him to enter the Royal Academy Schools at the age of twenty-two. Until he completed his studies nearly ten years later, Constable divided his time between East Bergholt, where he would sketch out of doors in the spring and summer, and London, where he exhibited finished oil paintings based on these open-air studies at the Academy.
Rejecting the accepted hierarchy of genres, which ranked idealized landscapes that told historical or mythological tales above views observed in nature, Constable sought recognition for humbler scenes of cultivated land and agricultural labor (The Cornfield; 1826; The National Gallery, London). The small, precise painting Golding Constable's Flower Garden (1815; Ipswich Borough Council) seems to record every detail of his father's domestic garden, as well as the barns and fields beyond.
Beginning with the 1819 Academy exhibition, Constable demonstrated his aspirations more boldly by exhibiting large-scale scenes of working farms and waterways painted in his studio, using increasingly broad brushstrokes and thickly applied highlights. The Hay Wain (1821; National Gallery, London), one of these so-called six-footers, was among the three paintings that Constable exhibited at the Paris Salon of 1824, where he was awarded a gold medal. His strikingly fresh, apparently spontaneous transcription of the landscape, described by the French writer Stendhal as "the mirror of nature," caused a sensation among French painters. For Eugène Delacroix, in particular, Constable's rich, shimmering surfaces came as a revelation, and, during his 1825 visit to London, he sought out the reclusive artist.
Yet success had come late to Constable, who often struggled to support a large family (his wife Maria bore seven children before she died in 1828). Throughout the 1810s and 1820s, Constable supplemented his income by painting portraits (06.1272) of local dignitaries. The patronage of Dr. John Fisher, whom Constable first met in 1798 and who later became bishop of Salisbury, remained crucial throughout his career. Between 1811 and 1829, Constable often visited the Reverend Fisher at Salisbury, where he sketched the Gothic cathedral (50.145.8) from a range of viewpoints under various weather conditions. These preliminary oil studies served as the basis of several paintings that picture Salisbury Cathedral alternately menaced by storms, framed by puffy cumulous clouds, or surmounted by a rainbow.
Intensive studies of clouds and skies enabled Constable to achieve these unique atmospheric effects. In 1821 and 1822, during his intense "skying" period, he produced dozens of watercolor, crayon, and oil studies of the clouds over Hampstead Heath (2009.400.26). His cloud studiescelebrated todaywere not exhibited in his lifetime. Painted rapidly, wet-in-wet, Constable used short strokes and a restricted color palette to train his hand and eye, and to enhance the realism of his later paintings. He labeled almost all of these images with scientific precision, indicating the date, time, wind, and weather conditions under which they were painted. Yet his ultimate goal was to paint the skywhich he deemed landscape's "chief organ of sentiment"more expressively. Indeed, landscapes from the time of his wife's death (e.g., Hadleigh Castle, 182829; Tate, London) feature dark, turbulent skies
that carry the brunt of the works' emotional weight.
In the later part of his career, Constable made fewer open-air oil sketches. Instead, he increasingly prepared studio sketches inspired by his earlier outdoor drawings. He undertook one major project in his final yearsa series of twenty mezzotints after his paintings entitled Various Subjects of Landscape, Characteristic of English Scenery (39.68.27) to be engraved by a little-known printmaker, David Lucas, under his supervision. The series, known as English Landscape and published from 1830 to 1833, became a manifesto of his views on landscape painting and a summary of his career. The second edition bore the subtitle
"Principally Intended to Mark the Phenomena of the Chiar'Oscuro of Nature," reflecting his belief that chiaroscuro, or the contrast between light and dark, was a principle of nature, and therefore crucial to landscape painting (the medium of mezzotint excels at conveying such tonal gradations). This emphasis on naturalism distinguishes Constable's approach from the classical tradition of landscape painting. Today he is often considered, along with J. M. W. Turner, one of England's greatest landscape painters.
Barker, Elizabeth E. "John Constable (1776–1837)". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/jcns/hd_jcns.htm (October 2004)
Further Reading |
These related Museum Bulletin or Journal articles may or may not represent the most current scholarship. |
About the Timeline | Credits | Image Copyrights and Credits | Share the Timeline | Connections | 82nd & Fifth |


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"Over the last three years, coach Jackson has challenged me as a player and person," Curry said in a statement. "His experience and guidance has helped each of us grow in this league... Can't thank him enough for all he did for me. I wish him all the best as he transitions to the next chapter."
Jackson, a former NBA point guard who had his best seasons with the Knicks and Indiana Pacers, had never been a head coach at any level when Lacob hired him away from the ESPN/ABC broadcast table in June 2011. An ordained minister away from the court, Jackson often spoke of his Christian beliefs and promised to turn the Warriors into one of the best defensive teams in the league and a perennial playoff contender -- and he did.
But Jackson's boisterous personality, at times, did not play well with Warriors management, his staff and -- to a much lesser extent -- his players, most of whom said they wanted him to return, especially Curry. Jackson's demeanor, which bordered on confidence and cockiness, might have ultimately cost him his job.
The pressure on Jackson began when the Warriors decided to pick up his contract option for the 2014-15 season last summer instead of negotiating a long-term deal as he had wanted. Management also encouraged Jackson to hire a strong tactician after top assistant Michael Malone, who had several disagreements with Jackson, left to become coach of the Sacramento Kings.
Instead, Jackson promoted Pete Myers and other assistants and hired Lindsey Hunter and Brian Scalabrine. While reports of rifts within the team surfaced on occasion, dismissing two assistants in a 12-day stretch before the playoffs perpetuated the idea that Jackson had fostered an environment of dysfunction, which Jackson repeatedly refuted.
The Warriors reassigned Scalabrine to the team's Development League affiliate in Santa Cruz on March 25 because of what Jackson called a "difference in philosophies." Then the Warriors fired Darren Erman on April 5 for reportedly recording conversations during coaches' meetings and discussions between coaches and players without their knowledge.
Lacob, who bought the Warriors for a then-NBA record $450 million in 2010 along with Peter Guber, never publicly supported Jackson beyond this season. The lack of support led to a lingering uncertainty that hovered over the team all season.
Several home losses to lesser teams frustrated Lacob more than anything and cost the Warriors a chance to earn anything more than the sixth playoff seed in the West, which they also had a year ago when they upset Denver in the first round before falling to San Antonio. The Warriors still showed a lot of fight -- and an ability to make adjustments -- with center Andrew Bogut out with a fractured right rib, pushing the third-seeded Clippers to seven games.
Clippers coach Doc Rivers said Jackson's firing proves things in the coaching game have changed.
"That means things are crazy," Rivers said. "George Karl was the coach of the year last year and got fired. Mark Jackson gets a team to multiple playoffs for the first time in a thousand years and gets fired. It's our job. We have a tough job. Everyone knows it now more than ever. ... Something has absolutely changed. I don't know what it is. Clearly the patience has changed. I don't know but there's definitely a change in thinking above us and it's hurting us."
Jackson said after the series that he never worried about his job.
"I work every single day with a passion and a commitment like it's my last," he said. "I'm trying to be a blessing to people. I'm trying to impact people, and that's the way I live my life. That's the way I coach. I don't get caught up in it. I'm totally confident and have total faith that, no matter what, I'm going to be fine, and that's even if I'm a full-time pastor. It's going to work out."
Information from ESPN.com's Marc Stein and The Associated Press was used in this report.


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List: | MySQL and Perl | « Previous MessageNext Message » | |
From: | Jochen Wiedmann | Date: | November 17 1999 10:09pm |
Subject: | Re: Installing the MySQL DBI on a FreeBSD box - what's wrong? | ||
View as plain text |
Your first problem (undefined symbol ...) looks like a problem with precompiled MySQL binaries. I always discourage using precompiled binaries. I have no idea about the core dump. Analyzing that requires an experienced C programmer, and you don't seem to be one. (Sorry!) Bye, Jochen


text: Product Name: Manufacturer : VERIFONE Description : >> POWER SUPPLY FOR VX510/ OMNI375 FOR LINECORD [vfn-cps10936-3e-r] Condition : Brand New With Original Manufacturer Warranty. Description : Power Supply (for the Omni 3730) Manufacturer : VERIFONE Part Number : vfn-cps10936-3e-r Return Policy : *** Due to manufacturer's restrictions, NO returns or exchanges are accepted on this item unless it arrives defective. *** |


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Possible Duplicate:
Sorting an ArrayList of Contacts
I am storing DataNode
objects in an ArrayList
. The DataNode
class has an integer field called degree
I want to retrieve DataNode
objects from nodeList in the increasing order of degree
. How can I do it.
List<DataNode> nodeList = new ArrayList<DataNode>();


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A city looking to rise up. A new Dark Knight is casting his shadow until dawn's early light. A cop looking to solve a murder whose solution may be worse than the crime.
A reporter who can reclaim her social standing only by rejecting everything she believes in. A doctor who has found new life by compromising her old one. One hero who has determined a course of action no matter whose plans it spoils.
Harvey Bullock. Vicki Vale. Dr. Leslie Thompkins. Stephanie Brown. These four ordinary people living extraordinary lives look to regain their balance in a city that turns lives upside down. Morning comes to Gotham City and the time for mourning has passed. How do the people of Gotham City deal with the sudden arrival of hope? Find out in this new one-shot!


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About this entry:
When the people of Beleriand spoke of 'the North', they were most often referring to the terrors of Morgoth's kingdom among the Iron Mountains. At times, though, the name was used to describe the allied lands that lay between Beleriand and Angband. In particular, the name was used for Dor-lómin, the grey land beyond the Mountains of Shadow that was held by the Men of the House of Hador.
Edain of the North, Grey-elves of Mithrim, Men of Hadors House
For acknowledgements and references, see the Disclaimer & Bibliography page.
Website services kindly sponsored by Axiom Software Ltd.
Original content © copyright Mark Fisher 2009. All rights reserved. For conditions of reuse, see the Site FAQ.


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Rate Dr. Brian J. Grade
Dr. Brian J. Grade's Ratings
Dr Grade must have been having a day. He treated me like a huge inconvenience. Kept me in ER but asked me what I wanted him to do. I have made complaints to the hospital and will follow through with mal-practice. I have a witness to the entire incident. To top it off they never gave me food. I had been there long hours with no food and no saline drip. STAY FAR AWAY IF HE IS IN A BAD MOOD!!!
Was this rating useful? 0 [[ userState['ratings'][790785].votes_count ]]
Dr. Grade was very caring during our stay. The wait times were minimal and he provided great support. All questions were answered professionally and his caring personality helped greatly with myself and family. Will be going to HOAG for future emergencies.
Was this rating useful? 0 [[ userState['ratings'][790784].votes_count ]]
He was very compassionate and respectful of our families needs and wishes. He had a very warm bedside manner and I felt very comfortable with him in the care of my family. Would definitely go back to HOAG Hospital for his service.
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Dragon Age II: Mark of the Assassin - Official Trailer
Check out the debut trailer for Dragon Age II: Mark of the Assassin.
by Mike Tao on
they shouldn't give these as DLCs, these should be in-game content. cuz DA2 is lack of plot.
Hey, if you like this game a lot then that's perfectly fine with me. I totally respect anyone's opinion especially if it is a positive one. Disclaimer aside, this game and it's DLC is a huge let down to me. Was really expecting more, all around. They killed the series. This DLC looks like a joke.
the last dlc took me 4 hours each time. it pays to check every corner for loot...even if that loot is junk. nevertheless, your houses in-game show 3 spaces for mission dlc (the eagle statue). i'm hoping at least one of them is an awakening type expansion. perhaps following a different character during the events of the main game.
i hope it will be a long dlc cuz the last one was just only 3 hours long and totaly not worth the money but if this is gonna be good then bioware is cool
The DLC for DAII is actually good. The only problem is that you have to own DAII to play it.
i haven't gotten any of the dlc content yet thought id wait for it all to com out then get it and play with my mage cause he is the only one i haven't played yet lol
looks cool, unfortunatley one has to buy dlcs to get to see something different than kirkwall in da 2
I gave up DA1. Never felt one with any character, especially mine. Hope DA2 is more for me.
Soooooo....another Kasumi style mission? Not saying it's bad, it was interesting with Kasumi, but this seems like just the same thing.
@doometernity OK,not bad,mediocre,not a big difference.But anyway,DA2 is inferior to DA:O in any way.
@Rocker6 The DLC have actually been rather highly regarded, none of them have been considered "bad"
@BULLSEYEGUNMAN they did not fail. da2 was definitely a very good game, it just wasnt great and it didnt quite live up to expectations, but that doesnt mean they failed. they tried something new and some things worked, some things didnt. As for ME3, they have different teams working on both of these franchises so that's just a plain old stupid comment.
I hope Bioware knoews the faile dwith this game. Let us hope they dont do the same with Mass Effect 3.
Oh yeah, this looks fun. ^^ That's us gamers, doing the impossible and kicking ass and whatnot.
This trailer has been on GameTrailers for some time now.Anyway,it looks like a bad action movie ad,the Dragon Age name is being ruined even further with these bad DLC packs.


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Find commute times to your work, school, gym and more.
Lynden Square
Contact this property
Floor Plans
Prices, specials, features and availability subject to change.
Contact for details (704) 612-5552
Accepts Credit Card Payments, Accepts Electronic Payments, Business Center, Clubhouse, Emergency Maintenance, Fitness Center, On Site Maintenance, On Site Management, Swimming Pool
Bark Park, Cable Included, Double Stainless Steel Sinks, Exciting Floor plans, Fireplaces, Free Standing Grills, Fully Equipped Kitchen, Ice-maker, Kid's Zone, Large Pets Welcome, Lush Landscaping, Multi-Sports Court, Pampered Paws Pet Salon, Pantry in Kitchen, Picnic Areas with BBQ Grills, Pool Views*, Public Transportation, Resident Activities Program, Spacious Floor Plans, Upgraded Black Appliances*, Walk in showers*, Wooded Views*
Property Details
Welcome to Lynden Square!
Lynden Square Apartments might just be the finest luxury apartments Charlotte, NC has to offer. We offer over ten different styles of extravagant floor plans chock full of fine amenities bound to make you feel right at home. We strive to offer our residents what they want and need in an apartment. Our goal is to become the best apartments for rent Charlotte, NC offers; bar none. When you come for a visit, you will be impressed by our world-class staff and top-tier amenities.
Leasing Terms
Our lease terms are: 7 months, 8 months, 9 months, 10 months, 11 months, 12 months (Please note that lease terms may vary, are subject to change without notice, and are based on availability. Inquire with property staff for complete details).
Pet Policy: $300 non-refundable pet fee. Restrictions: Limited to two pets per apartment home. All pet fees and monthly pet rent apply per pet. No exotic pets allowed; preferable that cats be spayed or neutered. No aggressive breeds (including, but not limited to Pit Bulls, German Shepherds or Dobermans). Please contact office for further details.
Pet Policy
Dogs Allowed. Cats Allowed. Pets Accepted. Call for service animal policy.
Community Information
476 units
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Monday: 9:00am-6:00pm
Tuesday: 10:00am-6:00pm
Wednesday: 9:00am-6:00pm
Thursday: 10:00am-6:00pm
Friday: 9:00am-6:00pm
Saturday: 10:00am-5:00pm
Managed by
Pegasus Residential


text:
CREDIT STUDENTS earn credits toward an AA degree, certificate, or for transfer to a university.
NONCREDIT STUDENTS take classes to increase literacy, access higher education and employment, and strengthen self-sufficiency.
INTERNATIONAL STUDENTS are credit students from foreign countries who have obtained F-1 visas to study in the United States.
The Horticulture Unit is located on approximately seven acres of land as part of the school farm with excellent facilities for practical, hands-on learning.


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Anonymus September 21, 2011
music at 2:15 ?
MilFHunTEr September 20, 2011
the least these guys could do is get a damn real hard on for these chicks there paying for sum real dick not a bunch of shrimp jeezz these guys need Xtenze hahahah
ify September 20, 2011
Love to party with these chicks
Skresh September 20, 2011
Lol @ 1:20
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To: | Domen Puncer <firstname.lastname@example.com> |
Subject: | Re: Generic clk.h wrappers? [Was: Re: [PATCH 1/3] powerpc clk.h interface for platforms] |
From: | Christoph Hellwig <email@example.com> |
Date: | Wed, 1 Aug 2007 14:57:53 +0200 |
Cc: | Russell King <email@example.com>, David Brownell <email@example.com>, firstname.lastname@example.com, Christoph Hellwig <email@example.com>, email@example.com |
In-reply-to: | <firstname.lastname@example.com> |
Original-recipient: | rfc822;firstname.lastname@example.com |
References: | <email@example.com> <firstname.lastname@example.com> <firstname.lastname@example.com> <email@example.com> <email@example.com> <email@example.com> <firstname.lastname@example.com> |
Sender: | firstname.lastname@example.com |
User-agent: | Mutt/1.3.28i |
On Wed, Aug 01, 2007 at 09:28:07AM +0200, Domen Puncer wrote: > > It doesn't make any assumption on struct clk, it's just a > > wrapper around functions from clk.h. > > Point of this patch was to abstract exported functions, since > > arch/powerpc/ can support multiple platfroms in one binary. > > So... the thread just ended without any consensus, ACK or whatever. > > Choices I see: > - have EXPORT_SYMBOL for clk.h functions in ie. lib/clock.c and have > every implemenation fill some global struct. > - leave this patch as it is, abstraction only for arch/powerpc/. > - or I can just forget about this, and leave it for the next sucker > who will want nicer clock handling in some driver It seems like arm really wants this optimized to the last cycle and no abstraction inbetween so we're probably stuck with the status quo. I'm pretty sure this will get too messy sooner and later and people will clean the mess up, but due to the political issues I don't think it's fair to put that burden on you just for submitting the powerpc implementation. So, please leave the patch as-is. |
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SwiftKey keyboard will be coming to iOS 8
One of the major new features in iOS 8 just announced at WWDC 2014 is support for third-party keyboards and SwiftKey will be one of them. We've just received word from SwiftKey that in fact...they've already started:
"We're delighted Apple has decided to embrace the importance of opening its platform to third party keyboards. For more than four years, SwiftKey has pioneered faster, easier typing on touchscreens, leading the industry with next-word prediction and smarter autocorrection. Our technology features on more than 200 million devices to date and we can't wait to reach more. We first brought a taste of our technology to iOS in January this year with the launch of the free note-taking app SwiftKey Note. Are we going to build SwiftKey Keyboard for iOS 8? Of course we are. We've already started."
SwiftKey is one of the best and most popular third-party keyboards available for Android and it's impending arrival on iOS 8 is fantastic news. Of course, we'll have to wait until the Fall, but it's coming. Who's excited?
Have something to say about this story? Leave a comment! Need help with something else? Ask in our forums!
Reader comments
SwiftKey keyboard will be coming to iOS 8
Big fan of Swiftkey here too. This is brilliant news. Such a great WWDC keynote and it had me glued to the screen.
I hope someone will bring back the old ios 6 keyboard. I hate ios 7 keyboard and can't stand using swift.
I love SwiftKey, I'm beyond excited I was about to upgrade my 5s to the Galaxy s5 because I missed some features including SwiftKey, now I'm reconsidering that change.
Sent from the iMore App
About fucking time. I told myself that for apple to keep me after the iPhone 5s they needed to do 2 things - bigger screen and proper keyboard/swiftkey. I'm so very thrilled to get swiftkey. Now I need a big screen and I will pay for the damn out of cycle upgrade.
Sent from the iMore App
Yet I doubt many iOS users will ever take a long at 3rd party keyboards. Most will probably not even know they exist. This really is for those that were thinking about coming over to Android. Or for Android users thinking about going to iOS. Or people who switched from iOS to Android and will be going back to iOS because of this. The mainstream consumer that buys iOS devices I can't see them using a third party keyboard.
Posted via iMore App
This is good, indeed! But I've haven't used either extensively - which is better: Swype or Swiftkey?
I hope it allows me to add my own words and terms to the new keyboards (just like how it is on my WP 8.1 phone) since I'm not a native English speaker.
The new iOS8 keyboard supports more than English. You can check it out on Apple's website: http://www.apple.com/ios/ios8/quicktype/
Sent from the iMore App
You can already try Swiftkey on your iPhone although currently it's a note app (that works seamlessly with Evernote).
The same thing with Fleksy keyboard. Fleksy also releases an API so that other 3rd party can use its keyboard instead of the default iOS keyboard. For example you can use it within Launch Center Pro or markdown app Write.
Both are available on the App Store since late last year.
Sent from the iMore App
Android keyboards is one of the on screen input methods that is available in the Android development and today, they are making a big buzz because of their customization feature.
I always disliked SwiftKey, not because of its features, but because of its performance and buginess. I have used some powerful android devices in the past two years, but SwiftKey was always lagging, crashing, or not even appearing.
After my switch to iPhone and iPad I never looked back. The iOS7 iPad keyboard is the best I have ever worked with on any touchscreen device. The iPhone one could use some improvement, but I hope we won't need SwiftKey for that.


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Local schools again close
due to severe cold
Both the New Berlin and Muskego-Norway school districts canceled classes for Monday and Tuesday because of bitterly cold temperatures and dangerous wind chills.
The closing also impacted Career Day at New Berlin West Middle/High School that was scheduled for Tuesday. However, the Career Day at Eisenhower that was scheduled for Wednesday was still slated to be held.
Similar weather conditions also forced the closure of schools in both districts, as well as elsewhere in the area, on Jan. 6 and 7.
Muskego senior gets
perfect ACT score
Muskego — Muskego High School senior Anne Mark earned a perfect score of 36 on the ACT college entrance exam.
Only one tenth of one percent of students taking the ACT earn perfect scores. Among the 1.8 million students in the class of 2013 taking the ACT, only 1,162 had perfect scores.
Anne is the daughter of Scott and Summer Mark of Muskego.
Fun takes over
frozen Bass Bay
Muskego — Boy Scout Troop 18 held a Winterfest on frozen Bass Bay on Saturday.
Troop 18 invited lots of other Scouts and Cubs to join the winter fun from 11 a.m. to 3 p.m. which included ice bowling, ice golf, and kid-pulled Klondike races.
Students attend
State of State address
New Berlin — Two New Berlin Eisenhower High School students in the new Dual Enrollment Academy were chosen to join Gov. Scott Walker at his State of the State Address on Jan. 22.
The students were chosen on the basis of grades during the last semester. Honored were Eisenhower students Alexander Hoelke, who is in the welding program, and Scott Thom, who is in the information technology program.
Walker invited them and 10 other students enrolled in Dual Enrollment Academies with WCTC to bring attention to how schools are trying to train young people for good-paying jobs in high-need areas.
Students attend WCTC for part of the day and their home schools for the rest of the day. They also earn 20 to 25 WCTC credits.
No word yet
on D.J.'s Pub rebuild
Muskego — There is still no word on how soon, or if, D.J.'s Pub & Grill will be rebuilt at W18040 Janesville Road.
"Hopefully we're going to do it but it's going awfully slow," owner Dan Hewitt said last week.
When asked exactly what the holdup is, he said, "Everything."
The original D.J.'s was razed because of the Janesville Road widening project. Hewitt received permission to rebuild a bigger restaurant and bar last September.
Access 12 work
to be done by spring
Muskego — By spring, there should be no question where the Public Lake Access 12 to Little Muskego Lake ends and where private property begins, said Craig Anderson, Muskego parks and recreation director.
Months ago, neighbors complained that part of the public access looked like private property. The property owner agreed to make several changes, all of which have been done, Anderson said.
He installed a split-rail fence on his lot line, removed plantings on the access side and put sod down and removed part of a stone path on the access.
This winter, the city will cut down some undesirable trees that interfere with the lake view and that shade desirable trees.
Lake Access 12 is one of several lake accesses that provide views of Little Muskego Lake but are not used to launch boats.
Muskego conservation
starts Facebook page
Muskego — People will be able to keep up on conservation events and projects and see wildlife photos on the new Muskego conservation Facebook page.
Tom Zagar, Muskego conservation coordinator, said the Facebook site will let people know of things such as migratory bird day and volunteer events. The page can be called up on Facebook or by using Google to search for Muskego conservation Facebook
Retired teacher's
first book coming out
Muskego — A young adult book titled "Odin's Promise," by Muskego resident Sandy Brehl, will debut from Crispin Books this spring.
Brehl will hold a Book Birthday Party from 6 to 8 p.m. April 24 at Norway House, near 75th Street and Oklahoma Avenue.
Brehl taught for 20 years at Hales Corners Elementary School in the Whitnall School District and before that taught for two decades in the Milwaukee Public Schools.
Since retiring she has been active with the Society of Children's Book Writers and Illustrators. She also teaches professional development workshops on literacy for the University of Wisconsin-Milwaukee education outreach. Those workshops have usually been held at the New Berlin Public Library.
"Odin's Promise" is historical fiction for middle-grade readers depicting the first year of German occupation of Norway as seen through the eyes of a young girl.
At her side for support and protection as she develops inner strength and voice and finds she is able to endure hardship and heartache is Odin, her faithful elkhound.
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- In brief: grand openning, Brownies
- sw_newsandnotes2_0312
- sw_newsandnotes_0129
- sw_newsandnotes_0122
- Muskego and New Berlin briefs
- News and Notes: Nov.13
- New Berlin and Muskego News and Notes: Nov. 6
- sw_newsandnotes_0731
- News & Notes: July 24, 2014
- sw_newsandnotes_0710
- sw_newsandnotes_0626
- sw_newsandnotes_0619
- sw_newsandnotes_0424
- News & Notes: April 3
- News & Notes: March 27
- News & Notes: March 17
- News & Notes: March 10
- News & Notes: March 6
- sw_newsandnotes_0227
- News & Notes: Feb. 17


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Amber "Pixie" Wells gives you the inside scoop on the latest shoot and what's to come in the members section.
I have the Pixie's Previews video clip to share with you this week. :)
Lots of behind the scenes fun to enjoy now and lots of great spankings scenes coming soon to the members' section!
PIxie's Previews Archives
Pixie-mail / Pixie's Blog
Contact Us | 2257 | Models Wanted | Banner Exchange | Links


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By Maureen O'Gara | Article Rating: |
January 14, 2013 07:00 AM EST | Reads: |
6,124 |
From the way Samsung's talking, it's prepared to field a platoon of widgets based on the Linux mobile platform Intel is pushing.
It told Bloomberg it's planning "to release new, competitive Tizen devices within this year and will keep expanding the lineup depending on market conditions."
In other words, it needs Tizen, which is meant for smartphones, tablets and TVs, to catch on with the developer class to create a robust ecosystem.
It's reportedly lined up NTT DoCoMo, Japan's largest wireless carrier with 60 million subscribers, to sell a Tizen handset in Japan. No surprise there really. Intel, Samsung, DoCoMo and Vodafone got together last year to form the Tizen Association.
Samsung is understood to want to lessen its dependence on Google and its Android operating system especially since Google bought Samsung rival Motorola Mobility.
Tizen is supposed to be more open than Android and HTML5-friendly. The LiMo and Linux Foundations are also supposed to jointly develop Tizen.
Published January 14, 2013 Reads 6,124
Copyright © 2013 SYS-CON Media, Inc. — All Rights Reserved.
Syndicated stories and blog feeds, all rights reserved by the author.
More Stories By Maureen O'Gara
Maureen O'Gara the most read technology reporter for the past 20 years, is the Cloud Computing and Virtualization News Desk editor of SYS-CON Media. She is the publisher of famous "Billygrams" and the editor-in-chief of "Client/Server News" for more than a decade. One of the most respected technology reporters in the business, Maureen can be reached by email at maureen(at)sys-con.com or paperboy(at)g2news.com, and by phone at 516 759-7025. Twitter: @MaureenOGara
- Source Claims SCO Will Sue Google
- Latest SCO News is Plain Weird
- SCO Claims Linux Lifted ELF
- IBM Tells SCO Court It Can't Find AIX-on-Power Code
- HP Starts Pushing Desktop Linux
- Linux Business Week Exclusive: Linux Kernel To Be Re-Written To Counter Microsoft FUD
- CSN Asks Judge To Unseal the SCO-IBM Court Record
- IBM's Got Its Head in the Clouds
- Noorda's Daughter Committed Suicide
- SCO vs IBM Latest: SCO To Request Unsealing of Most Documents, Claims O'Gara


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2015 Medicare Advantage Plans
If you are looking for extra Medicare coverage in 2015 you can use our guide to help you compare Medicare Advantage plans (Part-C). There are many factors to consider when comparing Medicare Advantage plans our guide will show you all available plans in your area compared by rating, premiums, deductible and out-of-pocket expenses.2015 Medicare Drug Price Comparison Tool
Use Medicare Help's new Drug Price Finder Tool. It helps you find the cheapest prices for all your Medicare Prescription Drugs by comparing all plan prices for your drugs in your coverage area.Compare 2015 Medicare Part-D Plans
If you are looking for additional drug coverage with your original Medicare Plan. Medicare Part D is a prescription drug plan offered by private health insurance companies that offers addition prescription coverage. You can use this guide to help compare Medicare Part-D stand-alone prescription plans for Medicare plans offering part D coverage.SHIP
The State Health Insurance Assistance Program (SHIP), is a Federally funded state program that offers free counseling for seniors who have questions about their health care. They provide free one-on-one telephone advice and counseling, and face-to-face sessions about your Medicare related questions. Find your local Senior Health Insurance SHIP counselor here.About: MedicareHelp
We are here to help you find the best insurance at the lowest price. MedicareHelp.org is a website that helps you compare various insurance options to see which one suits your needs best. MedicareHelp.org offers comprehensive information on Medicare, Medicare Advantage, Medicare Part-D, and their providers. This site is 100% free to use and we are compensated by Ad revenue only. And we do not require personal information to use our site. We are not licensed nor do we sell any type of insurance, nor will we recommend, suggest, or endorse or become affiliated with any individual insurance company. In other words we are here to provide you unbiased information about your various insurance options.


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04/13/12 By Scott Fugate
Jazz vs. BAM . . . Bridges vs. walls
In defense of America's original, indigenous art form.
If you ask 10 Americans "what does it mean to be an American?" you might well get 10 different answers.
So it goes with America's only original, indigenous art form.
Wait . . . we have one of those?
Yes indeed – although it's rarely given the National respect or attention it deserves.
Thus, if you ask 10 Americans what our only original, indigenous art form may be, the correct answer might not even make the list.
Baseball, hot dogs & apple pie may represent America . . . but none of them originated entirely in this country, and despite the defense of avid fans – none of them are actually art forms.
Pizza is actually more American than the hot dog – even though it masquerades as Italian . . . but that's an entirely different subject.
Basically, our cultural identity is a mash-up of every other culture around the world . . . just like our art form – which happens to be jazz, by the way.
If you just turned up your nose, or made a face or derisive sound when you read that – you are most probably an American.
However, the fact that any 10 different Americans could express such varied opinions is part of what jazz is all about. The very fact of our diversity, our differences, outlooks, preferences, and all the various cultures that combined to create these United States are the DNA of America's only original art form.
America is a synthesis of sounds, styles, attitudes, traditions, beliefs and cultures – creatively linked through communities, improvised communication and collective democracy . . . just like jazz.
Anything that can be called truly "American" must represent all the races, cultures, religions, ages & tastes that are part of this great Nation . . . and we are also free to accept or reject it.
True to form, Americans on the whole tend to reject & ignore jazz. Many have never really listened to it – except in the guise of annoying background music – and even fewer have seen it performed live. Most Americans have never had any education as to how jazz was developed, why it had an effect on the rest of the world, how it influenced every style of music that came after it & remains embedded in everything they currently listen to, or . . . what it actually is.
Much of this problem arises from our diversity – and the desire to define everything according to demographics. Like any product in our free market economy – jazz has been codified, classified, and narrowed down to fit a small spectrum of very specific consumers . . . even though the essence of jazz appeals to all demographics by it's very nature.
Those that have claimed jazz as their own over the years have managed to extricate it from any cultural relevance, and remove all vestiges of it from popular music. Sadly, this is often done in the name of preservation.
I believe the primary problem lies in the definition. "Jazz" is often defined as a singular & specific genre of music – or applied to the popular styles played throughout the 1920's, 30's, 40's or 50's . . . even though each of those eras had a different definition of the word.
The people playing jazz in the 1920's did not recognize what was called jazz in the 30's – not to mention what big bands did to it in the 40's — and the jazz musicians of the 1950's & 60's claimed the word as their own by rejecting the previous styles developed by their mentors & predecessors.
For the past century, people have tried to put jazz into a narrowly defined box – rather than embracing it as a cultural phenomenon and unique process of shared improvisational creativity. The word is used to define a singular style of music, rather than the foundation and primary link to ALL styles and eras of music developed since the onset of the 20th century.
When someone says, "I don't like jazz", they probably don't realize that they are proclaiming a dislike for every style of music created since the 1890's. If you enjoy anything other than pre-20th century classical music, you do indeed like some kind of jazz . . . because every style that has emerged in the past century is connected to it in some way. However, jazz remains largely misunderstood, and completely irrelevant in most American's lives.
I'm sure you've heard it said that America is a melting pot – a conglomeration of cultures that have joined together in a great experiment of democracy. We are a wide collection of every religion, ideology, race & culture known to man; which is superbly represented by our quintessential music . . . a diverse Continuum containing a century of styles under the banner of one word.
That word is "jazz".
Or is it?
It has recently been under attack from an unsuspecting source – jazz musicians themselves. Nicholas Payton recently caused a stir due to a blog posting where he proclaimed the following:
"Jazz died in 1959 . . . Jazz was a limited idea to begin with. Jazz is a label that was forced upon the musicians. The musicians should've never accepted that idea . . . The very fact that so many people are holding on to this idea of what Jazz is supposed to be is exactly what makes it not cool. People are holding on to an idea that died long ago . . . Jazz ain't cool, it's cold, like necrophilia . . . Definitions are retrospective. And if you find yourself getting mad, it's probably because you know Jazz is dead . . . I can't speak for anyone else, but I don't play Jazz. I play Postmodern New Orleans music . . . I am a part of a lineage. I am a part of a blood line. My ancestors didn't play Jazz, they played Traditional, Modern and Avant-garde New Orleans Music. I don't play Jazz . . . If you think Jazz is a style of music, you'll never begin to understand . . . Jazz is a brand. Jazz ain't music, it's marketing, and bad marketing at that. It has never been, nor will it ever be, music. Here lies Jazz (1916 – 1959) . . . I am Nicholas Payton and I don't play "the j word." I play BAM. BAM is an acronym for Black American Music."
This has created an ongoing discussion within the rather small world of critics, musicians & promoters of "the j word". I myself got into a discussion with Nicolas about this on Twitter a while back – but he wasn't actually interested in discussing it. He responded to my praise of the art form – as well as his practice of it — with some profanity, and then blocked me. He then deleted all his comments to leave mine standing on their own . . . like the disconnected ramblings of a street corner tweeter.
Jazz is a dialog, and Nicholas doesn't seem interested in having any dialog – which may be one of the reasons he isn't interested in "jazz". My impression is that he is only interested in his own re-interpretation of the art form. His attitude is not new – it is the very reason that jazz is not part of our popular culture anymore.
One of the things that Nicholas tweeted to me was that "the j-word is one of the most racist words in the English language" . . . however, he didn't like it when I responded by tweeting "jazz was the first thing in America that transcended race and built bridges to every culture in the world." Nicholas tweeted back that "he would die for the music, but will drag the word to it's death" . . . however, he is dragging the music & heritage down with his arrogance, just as so many have done before him.
Okay, fine – what's in a word? How can changing the name hurt the music?
Perhaps a bit of background information is in order.
Due to all the opinions & divisions on the subject I have spent years trying to get to the bottom of this thing called jazz – and thus, much of what I've discovered is still up for discussion, and will undoubtedly have detractors. But here goes . . .
"Jazz", "jass", "jas" or "the j-word" has several possible derivations . . . none of them worthy of the music associated it. No one knows for certain the etymology of the word. It has become the stuff of legends — like the music itself and the musicians associated with its beginnings.
The "j-word" has therefore stirred a century long debate that has also extended to the music itself. Many have attempted to define the appropriate form of stylistic expression & technique that the word represents. This has in turn created a multitude of genres and sub-genres that have each tried to redefine the word by narrowing its scope.
Some claim that the word "jazz" has origins in Africa; others claim that African-Americans or New Orleanians created the word . . . but the specific roots are hard to nail down.
Some historians claim that the word was derived from the Irish Gaelic word "T'chass" – which means fiery and full of life. The first known use of the word in print seems to confirm this definition. It is found in the Los Angeles Times from 1912, where it was used in reference to baseball. A player was quoted as saying, "I call it the Jazz ball because it wobbles and you simply can't do anything with it. That is, it's too lively for them to hit it."
Another theory is that the word arose in the south as an abbreviation for "jackass", shortening it to "j'ass" in reference to black minstrels and the music they created.
Still another theory claims that the word arose from Storyville in New Orleans – the birthplace of a musical style born in brothels where prostitutes favored jasmine perfume . . . the music was thus associated with the smell and labeled as "jas" music.
There is also an idea that the word came from "gism" or "jasm", which are slang words associated with sex – like it's offspring, "rock and roll" . . . or the earlier "spasm" bands that played found objects on the streets of New Orleans in the late nineteenth century. There is some definite truth to the fact that most terms applied to popular music in the 20th century originated from sexual innuendo & profane slang.
Many of the original New Orleans "jazz" musicians born between 1885 and early 1900's have claimed that the word was never actually used in New Orleans at all – they called the music they played "ragtime" or "blues", and the j-word was only applied after they took their music up north to Chicago.
The first known instance of the word "jass" being used to describe music was indeed in Chicago. It was applied to the very first recording of "Traditional New Orleans music" in 1917 by a band called the Original Dixieland Jass Band. If you were to ask the white Italian band leader Nick LaRocca where the word came from, he would undoubtedly tell you that he invented it . . . or, at the very least, was the one who established "jass" as a musical idiom or genre. He denied any association with African-American roots or the musical influence of "Negros", claiming that any such historical revisionism was a communist plot.
And this was just the beginning of a century long battle for the very heart, soul & definition of "jazz".
Another brilliant ragtime pianist known as Jelly Roll Morton also claimed to have invented the genre, and probably the word, denying any assistance or influence . . . and also denying that he himself had "negro" blood due to the fact that he was Creole. However, the hubris of Jelly Roll and LaRocca did little to advance the music – and only lead to their eventual decline & disgrace.
One of the lessons of jazz is that if you hold too tightly to an art form, and claim ownership to specific styles of creative expression, you end up destroying the thing you love. Ego suffocates art, and hubris kills it.
So, where did jazz come from?
Legend has it that Buddy Bolden blew something unique on his horn in New Orleans circa 1895 – and music was changed forever. Others were involved of course, but since Buddy Bolden spent the latter part of his life in a mental institution he was an exotic figure to pin with the development of something so extraordinary.
We also know that the music was born of slavery – created by those that yearned for freedom; expressing sorrow via the 12 bar blues; coping with sweat & labor via the collective improvisation of call & response; and expressing ecstatic sounds of worship, celebration & hope via gospel. These sounds & styles were blended with European classical & marching band music, and further mingled with the folk songs of 69 cultures living and working in New Orleans at the end of the 19th century.
So, whether it was Buddy Bolden, Nick LaRocca, Jelly Roll Morton, or the countless others that claim ownership & developmental rights to Americas only original art form – it is much bigger than any one man, one sound, one style, or one culture.
Jazz is indeed (as Nicholas Payton contends) "Black American Music" . . . but it is also so much more. Not to take anything away from it's roots, but to elevate it to its proper place as one of the most influential art forms the world has ever known. Jazz extends beyond race, color, creed or culture – unifying us all, building improvised bridges of communication, and allowing the entire planet to swing together in syncopated counterpoint.
If you take any one of the cultural elements away from the DNA of jazz, you end up with a singular style favoring one culture or sound over the other . . . rather than the rich collective sound that continues to grow & change every time someone syncopates a rhythm or improvises a melody.
If jazz was just one thing, the structure would have stayed the same – but it has radically changed through each of the past 9 decades, and defined each generation of the 20th century.
The 1920s ushered in the "jazz" age, where middle class white Americans embraced African American traditions, ideals and music . . . sanitizing it and claiming it as their own. However, the original "jazz" artists from New Orleans did not gain the same respect as the all white orchestra lead by the so-called "King of Jazz", Paul Whiteman.
Black musicians, dancers and artists were often mocked and reduced to minstrelsy while their art, music, culture and creativity was stolen & embraced by whites who performed it under different labels. Almost a hundred years later, little has changed in this respect.
The 1930's ushered in the "swing era" with a preponderance of big bands & orchestras that still played jazz – but whites tended to call it "swing" to differentiate it from the music played by big bands of color . . . regardless of the fact that it was the same music.
Duke Ellington called it "American music" due to the divisions & limitations; while others argued for the label of "American Classical Music" rather than the much maligned & misunderstood "jazz".
Many have claimed that jazz and swing are indeed different due to the fact that swing is about melody, whereas jazz is about improvisation . . . but this is merely an issue of quality. Good jazz is built on melody – particularly a melody born of the blues – and good swing is built on syncopation & improvisation of the same melodies . . . if you lose any of those things, you may still be playing jazz & swing – but it's just not very good. Blues is to jazz as flour is to bread . . . and swing is to jazz as rock is to roll. Any separation is usually artificial and racially motivated.
At the beginning of the 1940's jazz had spread around the planet along with World War II, and had grown into the most popular music in the world. However, various factors forced the further evolution of jazz styles. World War II helped split up the bands that made it. Record labels didn't want to pay all the musicians that made the bands "big", which led to a Musician's Union strike lasting from 1942 to 1944.
The strike allowed solo singers to take the spotlight away from the musicians – and with the popularity of film, these performers quickly became movie stars with household names. Popular music moved away from composition, complexity, dexterity, and artistry in acquiescence to celebrity . . . and focused on how the performers looked rather than how they sounded.
Many African American musicians were tired of playing to all white audiences in locations where they were not even permitted to eat, sleep or use the restroom . . . not to mention the fact that most jazz musicians were bored to death with playing the same songs the same way over and over due to audience expectations – undermining the very essence of jazz improvisation – or merely serving as background sound in support of a celebrity solo singer.
Jazz was thus removed from the dance halls and relocated to small smoky bars where artists could explore and expand their craft. Swing styles evolved into be-bop . . . replacing the popular appeal of dance music, swing rhythms, and singers with intense improvisation. Bop tended to move too fast to allow for dancing or singing – which delighted musicians, while alienating audiences.
The 1950's saw a wide split in the jazz continuum. The music continued to expand; influencing other indigenous genres and allowing age-old folk styles around the world to evolve . . . and then coming back to America to redefine our own. At home racial divisions and bad memories of the depression and the war created entirely new styles and expressions of America's music.
Dance music (which was still essentially jazz and swing) began masquerading under new names – black communities called it "Rhythm & Blues", while white communities called the same music (and often the same songs) "Rock & Roll". Jazz musicians shunned both labels and became increasingly removed from popular culture.
After 30 years of defining popular music around the world, "jazz" was left to back rooms, dive bars, and underground establishments for the terminally hip. The structure, strains, and foundational influence of jazz was still to be found embedded in all forms of popular music – but it was no longer politically correct to call it "jazz". The word lost all cultural relevance when it began to define the music of the past.
Those that embraced the j-word & the styles of music associated with it throughout the 1950's became a sub-culture of cool . . . all the while becoming increasing disconnected from the masses. The singular "genre" which came to be identified with the word often demanded some kind of initiation or education to understand what was being played. It grew into a style played by and for other musicians – and the general public was rarely part of the process. The untrained ear had a hard time discerning melodic lines amidst the improvised chord changes, thus leaving a disenchanted pubic to proclaim that jazz was nothing more than noise & chaos . . . undefined songs in search of a melody.
There were also several minor stylistic derivations that went by different names (such as "straight ahead", "cool", "bop", "mainstream", "hard bop" and "post bop") – but it all sounded the same to the untrained ear, and few artists were willing to teach or draw the audience in to what they were doing. Miles Davis was well known for turning his back on white audiences. Thus, jazz was relegated to the stuff of snobbery.
So, in one way, jazz did indeed die in 1959. It certainly hasn't been the same since. If you see jazz as a singular style consisting of straight ahead acoustic bop – then it never got any better than Mile's "Kind of Blue, Brubeck's "Time Out" or Coltrane's "Giant Steps". If that is all that jazz is or ever was – that would be enough. However, it didn't stop there . . . it continued to grow and change, just as it had for the 50 years previous to those definitive albums. Indeed, it had taken jazz 64 years to rise to that point of perfection.
In an effort to "free" jazz from its limitations, some artists tried removing all boundaries in the early 1960's – including rhythm and melody – creating avant-garde, expressionistic and free styles which served to further alienate the public . . . and even pushing away those that had been fans of the straight ahead styles of the post-swing era.
The popularity of soul music and R&B in the 1960's cut across cultural lines for a time, and – though seen as separate from the jazz from which it was spawned – it returned to the Continuum to give bop back some of the groove it had lost.
The 1970s saw a fusion of styles harkening back to the beginnings of jazz – when the various cultures and musical styles in America came together to create something new, fresh and unique. Contemporary jazz began to embrace elements of funk, soul, R&B, disco, rock, heavy metal, country, folk, and flavors from around the world. All the styles that had grown from it's roots came back to reinvigorate the foundations from which they had sprung. However, instead of increasing the popularity and accessibility of jazz as a living art form, it became even more divisive – each new style becoming a genre unto itself.
While many did embrace the various styles of jazz fusion, and the popular offshoots of the Continuum that went by a hundred different names – few still considered any of it to actually be "jazz" due to the reputation it had gained in the 50's & 60's as a singular genre unwilling & unable to play nice with others. They couldn't recognize the roots, because the root had rejected and redefined its own offspring.
Musicians, critics, promoters, publicist, record execs and industry insiders argued over what to call each new style. Their primary concern was how to sell new singles & new artists to a public that cared less and less about tradition, artistry or creativity. The general public really didn't care how the music was created; they were oblivious to the skill of the musicians or composers, or where any of it came from. They just knew what they liked based on what their peer group deemed as cool, and what the industry had forced into their eardrums via repetition. If you hear a song or style enough times you will start to like it . . . even if there is very little to like.
Musical styles became intensely focused on consumer demographics, which were easily manipulated by the music industry. The unaware masses eagerly devoured whatever flavor was fed to them via loud electric instruments played by long-haired musicians wearing the latest fashions. America's music was successfully rebranded with the British invasion – and all vestiges of it's forefathers were purged from the charts.
Ironically, it was the British rock artists that awakened an awareness of the black roots of rock music in America – and caused a surge of popular interest in blues, soul and R&B, which of course were all part of the Jazz Continuum.
Records labels & radio stations forced a divorce between popular music and artistry . . . replacing melodic & rhythmic complexity with repeated hooks. Musicianship & composition were eliminated in acquiescence to celebrity worship, fashion, trends, and anything else that could sell records via their association.
America may have been de-segregated in the 1960's, but music remained the last bastion of racial and cultural division. While races & cultures might have mingled at the same schools, jobs, and neighborhoods – musical labels kept the cultures far removed from each other.
At my predominately white high school everyone listened to rock, pop, country or heavy metal . . . whereas the jazz, funk & soul that I was digging was mocked as "black music" or lumped into the category of "disco".
Disco did try to revive the popularity of jazz – but the improvisation got lost amidst the monotonous beats . . . and once again, the style was a pale imitation of the funk & soul from which it was spawned.
Even though every style of "white music" had indeed evolved out of "black" culture – the links and connections had been severed. The Jazz Continuum was still evolving and growing into ever new styles of pop music, but no one saw or cared about the influences. Musicians were still baking with the same ingredients – but the industry gave their product new names, catering to new demographics, and ignoring the common ingredients and recipes they all shared.
By the 1980's the Jazz Continuum was dissected into a hundred styles all designed to appeal to different ages, races, generations, sub-cultures, and trends . . . like a myriad of kites flying in the sky all tied to the same base, tangled in the same string, but each proclaiming the illusion of independence.
Popular music had lost its "T'chass" and soul. Melody & harmony were replaced by electronic sounds created to augment & define sub-cultures. Musicians were replaced by computers, composition was replaced by sampling, and singing gave way to rapping. Locked in a perpetual battle since the Renaissance, art had finally lost to commerce.
The 80's did however see a resurgence of jazz from a very unlikely source – so-called "New Age" music – turning back the clock to the simplicity of folk melodies, acoustic instruments, International fusion, and tonal moods. However, like all other eras of the Jazz Continuum, once a musical innovation gets labeled as a new "style" or genre, it immediately begins to define itself by its own limitations. New age, ambient and world groove music was fresh & diverse at first, without a specific definition or style, until a new radio format codified & killed it.
By the 1990's, contemporary jazz had been reduced to nothing more than "easy listening" or background music. It had to be innocuous so that you could "listen while you work" . . . "smooth" enough to appeal to places of business where they didn't really want anyone to actually listen. Jazz was thus reduced to non-offensive white noise – perfectly designed for elevators, supermarkets, waiting rooms and voice mail servers.
The music industry was happy to create a new radio format that capitalized on a classy, upwardly mobile association with jazz, while rejecting it's very essence. They formed focus groups consisting of people who didn't care for jazz and allowed them to choose the songs that they found the least offensive. To meet the demand of the new radio format, all the things that make jazz exciting were extricated by the record industry. Jazz artists were forbidden to improvise by the labels that produced their records; they had to create catchy hooks that people could lightly hum or whistle along to while they worked.
I've had several jazz artists tell me personally that they were strictly instructed by their labels to keep the music simple, keep their solos short, limit any improvisation, not jam too hard . . . and not to sound "too black".
On the other hand, jazz was booming around the rest of the globe – styles know as "acid jazz", "trip hop", "drum 'n bass", "deep house" & "neo-soul" were considered cutting edge in the UK, France, Germany, Italy and Japan . . . bringing back the excitement found during various ages & eras of jazz past.
Jazz in America was primarily being heard on radio stations using the tag line, "Less talk, more music" . . . which removed the listeners from any actual association with the music. People won't go out and buy an artist's album if the radio station doesn't deem it important enough to tell you what you are listening to, or share any information about the music.
I ran a smooth jazz radio station starting in 2001 when the format was going strong. Many listeners claimed to love the station, and listened to it daily at work – yet no one could name a single artist or song. They liked it because it didn't annoy them – but very few were truly passionate about the music. It's hard to build momentum around purposeful passivity – so, the smooth jazz format slowly died, leaving American airwaves bereft of any jazz whatsoever.
Thankfully the internet has opened up new avenues in which to experience and discover new music. The Jazz Continuum perpetually evolves – recreated new each time someone improvises a melody or syncopates a rhythm. It remains at the root of every popular musical style listened to in the world today – yet each style is disconnected from it's roots.
Now is the time to reveal the connections; to draw the lines between genres and styles showing their common origins and influences. If every young person realized that everything they listen to was influenced by the music their parents heard before they were born . . . and if every stylistic snob realized that their chosen genre was the step child of something much bigger . . . and if every culture realized that their current popular music was connected to a common thread that went back over 100 years to a place near a New Orleans sea port called Congo Square . . . and if everyone could see beyond their own tastes to the common influences that helped form them – the bridges would span all our differences, walls would fall, and civilization could dance freely forward through the barriers which hold us back.
We are currently a world connected by the same music, yet divided by what we call it. Every generation & sub-culture thinks that they are on to something new rather than embracing the rich heritage from which they emerged.
It's all connected to this thing called "jazz" . . . a hybrid flower that bred a world wide forest. A symphony of culture & color that filled the planet with sound – and taught the world to swing, rock and groove.
Yet most of us can't see beyond our own CD collection or favorite radio station.
Now Nicholas Payton wants to get rid of the word jazz altogether in favor of something called #BAM or "Black American Music" – which would be fine if that's all it was.
The blues are most certainly Black American Music – they serve as the very foundation upon which the Jazz Continuum was built. However, blues IS a specific genre. It is one particular style with a 12 bar structure. Jazz took that base and layered every other culture & sound in the world upon it via improvisation.
Jazz was given birth on the back of every culture that built America – and was then released into the world to allow each culture to grow and flourish with a multitude of sounds.
Jazz is a bridge – BAM is a wall.
Jazz is an endless symphony – BAM is a singular song or style.
Jazz belongs to us all – BAM belongs to Nicholas Payton and a few of his friends.
God bless jazz, may it continue to grow and evolve for the next millennium to come.
Eventually, there will be a new continuum – and the jazz continuum will become like the classical continuum that preceded it . . . a multitude of eras and styles all defined by a single word.
J. Scott Fugate 2012
(Now you know why they call me the Jazz Evangelist :-)
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Headpiece. Artist: Sir Joseph Noel Paton, R.S.A. [unsigned; may be by one of the Dalziels] Engraver: Whymper. 1863. Wood engraving, 2 x 4 1/2 inches. Illustration for "The Refusal of Charon" from Aytoun's Lays of the Scottish Cavaliers, p. 245. Scanned image and text by George P. Landow. [You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the person who scanned the image and (2) link your document to this URL in a web document or cite the Victorian Web in a print one. ]
Aytoun, William Edmondstoune. Lays of the Scottish Cavaliers and Other Poems. Illus. Sir Joseph Noel Paton and Waller H. Paton. Edinburgh and London: William Blackwood and Sons, 1870.


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The first time I met David and Olguin. What a day!
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About the Author
Chris and Michelle Benzinger
Chris and Michelle are the parents of six amazing children (Olguine, Noah, Luke, Sam, David, Lily) ranging from 15 to 3 years old and live at Life Teen Covecrest in Tiger, GA. Together, Chris and Michelle direct Life Teen Missions which has grown to 41 full-time missionaries including families.


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text: Israel says Palestinian hunger-striker to be freed to Gaza on Mar 17, 2013 @ 4:01 PMA Palestinian prisoner on long-term hunger strike has inked a deal with Israel which will see him freed to exile in Gaza for 10 years, a prisoners' rights group and Israeli intelligence said Sunday.Ayman Sharawna is one of four Palestinian prisoners who have been refusing food for months over the conditions of their detention by Israel, whose cases have sparked expressions of concern from the United Nations and the European Union."Palestinian prisoner Ayman Sharawna, who has been on hunger strike since mid-July, has reached a deal with the Israeli side under which he will be released to Gaza and exiled there for 10 years," Qadura Fares, head of the Ramallah-based Prisoners' Club, told AFP.Israel's Shin Bet security service said that it had approved the deal with the Hamas activist and it would be implemented "in the near future"."The request was approved and it was decided that after 10 years he would be able to return (to his West Bank home) if it is concluded that he has not gone back to terror activity," it said in a statement.Sharawna, 36, is a long-term security prisoner who was arrested in 2002 and sentenced to 38 years behind bars, but released in October 2011 under terms of a prisoner swap deal.But he was rearrested three months later and charged with violating the terms of his release, although the evidence against him was kept secret.He began refusing food in July after Israel threatened to make him serve out the remainder of his original sentence.On February 28, Jaafar Ezzeddine and Tariq Qaadan, ended their three-month hunger strike after refusing food for three months, pending a hearing on their case. Both have been held without trial since November. The fourth hunger striker is Samer Issawi, a security prisoner who is currently being held at Kaplan hospital near Tel Aviv after intermittently refusing food for eight months.Like Sharawna, Issawi was freed under the 2011 swap deal but rearrested last year on charges of violating terms of his release.Last week, Israeli medics raised the alarm over his state of health, informing the Prisoners' Club that he had suffered cardiac failure and was at risk of dying after he stopped taking liquids.bur-scw/jds


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Transfer Guide
Online Transfer Guide
Transfer Credit Policies
Both you and your academic adviser will receive the Office of the Registrar evaluation of your college credit. Your adviser will not receive a copy of your previous college transcripts. If you have questions about the evaluation of your transcripts, contact the Office of the Registrar by email, or calling (540) 568-6281.
Understanding Your General Education Program Transfer Credit Evaluation
General Policies
Credits are accepted from institutions recognized by the American Association of Collegiate Registrars and Admissions Officers and accredited by a regional accrediting body.
Credit is accepted only if a student has earned a grade of "C" or better in a course. Credit is also generally awarded for credit, pass, honors or satisfactory designations when proof that the grade would have equaled a "C" or better is provided. Credit is not awarded for "C-" and lower grades or for credit earned through departmental examination.
Credit is generally accepted for course work if JMU has a similar discipline, department or school. If a student presents a course that is not equivalent to a specific course taught at JMU but is in an available department or school, it may be accepted as elective credit.
Credit is not given for "F," "no credit," "unsatisfactory" or any other grade that indicates unsatisfactory progress.
Credit is not given for elementary or accelerated/intensive elementary foreign language courses if the student has had two or more years of that foreign language in middle and/or high school.
Maximum Credit Transfer Toward Graduation
Under university policy there is actually no limit on the amount of credit that can be transferred to JMU. However students must meet certain criteria to be eligible to graduate from JMU. Please see our Graduation Requirements page for details.
The classification of students depends on the number of credit hours they have earned as follows.
- Freshmen: fewer than 28
- Sophmores: 28 to 59
- Juniors: 60 to 89
- Seniors: more than 89
Transferring Grades or Quality Points
You will earn credit for all transferable courses in which you have earned a grade of "C" or better, but your grade point average for those courses does not transfer to your JMU record. Your JMU cumulative grade point average is calculated only based on grades earned for course work completed at JMU. If you meet the minimum eligibility requirements for graduation with honors at JMU, graduation honors will then be determined by calculating a combined GPA. All grades received in all courses attempted at any institution of higher education will be used to calculate the grade point average in consideration for graduation with honors. Grades and credits completed at other colleges will be converted to the JMU grading system. The combined GPA will never appear on the JMU transcript, and will only be used to determine graduation honors eligibility.
Nontransferable Credits
The following courses are not transferable:
- Terminal courses that are generally technical and vocational in nature
- Remedial and sub-college courses that are usually taken to remove a high school deficiency or to remedy inadequate preparation for college-level work in a specific discipline
- Courses in which a comparable discipline is not available at JMU
- Most 300-or 400-level courses offered at JMU that were taken at the 100 or 200 level at a community college (there are a few exceptions)
- College Level Examination Program (CLEP) courses, departmental and school examinations for credit.
Recording Credit
Advanced standing or transfer credit accepted by the Office of the Registrar is placed on your permanent record after you enroll at JMU.
Incomplete Transcripts
If you attend an advising session with your academic adviser before all of your transcripts have been received by the Office of Admission, you should list the courses that you have completed with a grade of "C" or better for your adviser and avoid taking courses required in that area until the entire transcript has been received and evaluated. It is your responsibility to ensure that all transcripts from former schools are forwarded to the Office of Admissions.
Credit for Service in the Armed Forces
If you are a veteran with one year of active military duty and have not previously received credit in this area, you may qualify for six credit hours of elective credit. However, students in teacher licensure programs must still complete HTH 204, Emergency Health Care, and HTH 370, The School Health Program.
Additional credit may be given for successfully completing selected service schools. This type of credit is based on recommendations in A Guide to the Evaluation of Educational Experiences in the Armed Services.
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Food Drive: Lots of ways to help!
UPDATED 9:28 AM EDT Oct 23, 2012If you're more of a hands-on person, there's another way to make a difference and help feed the hungry! Stephanie Berzinski explains.
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Barbour to reveal economic development deal tomorrow?
It's the first work day of the new year, and Magnolia Marketplace thought we might be able to catch Dan Turner off his guard.
We didn't.
Reports have surfaced this afternoon that Gov. Haley Barbour will announce an economic development project Tuesday morning. So will he?
"You know we don't comment on any economic development deal until it's officially announced," Turner said.
In the past month or so, we've heard rumors of a deal for Hattiesburg, Tupelo and all points in between, but there's been nobody willing to put their name on it. Maybe Barbour will fill in some gaps tomorrow.
So stay tuned.
Categories: Economic development, Haley Barbour, News